Abstract
Abstract The article consists of two parts: the first part attempts to demonstrate how the inability to cooperate and the conflicted atmosphere between Pia and Pino Mlakar and the circle of Meta Vidmar and her students was imported to Slovenia from the German dance space and is the legacy of the dissent between Rudolf Laban and Mary Wigman, who had strongly differing views on the relationship between contemporary dance and dance institutions; and the second part describes the career path of Ksenija Hribar, her work in Great Britain and the experience she gained at LCDS and LCDT, as a basis for the deviation from joint efforts in the establishment of the Contemporary Dance Association Slovenia.
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